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synth from “spirits in the material world” by the police | ToneDB

spirits in the material world

the police

synth

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Tone Profile

A punchy, brassy, and slightly detuned polyphonic synth stab with a characteristic filter sweep and rich chorus, defining the song's rhythmic and harmonic drive.

Signal Chain

Instrument: Oberheim OB-Xa Polyphonic Synthesizer

Amp: Direct Input (DI) to mixing console

Processing: Built-in oscillator sync (characteristic of Oberheim), Subtle voice detuning/pan spread (common on OB-Xa for width), External Chorus (e.g., Roland Dimension D, Boss CE-1, or Eventide H910/H949 in chorus mode), Studio Reverb (e.g., EMT Plate or Lexicon 224 common in high-end studios of the era)

Other: Played as block chords. The filter envelope (fast attack, medium decay) on a resonant low-pass filter is key to the percussive, brassy attack. Oscillator sync provides the distinctive harmonic 'rip'. The part often includes a slight portamento/glide between chord changes.

Recording Notes

  • Recorded for The Police's 1981 album 'Ghost in the Machine'.
  • The synthesizer part was played by Sting, who handled most keyboard duties on the album.
  • Recorded at AIR Studios, Montserrat, and/or Le Studio, Morin-Heights, Quebec.
  • Co-produced by The Police and Hugh Padgham, known for his distinctive production style and use of effects.
  • The synth riff forms the main harmonic and rhythmic backbone of the track, immediately recognizable.

Recreation Tips

  • Use a synthesizer with at least two oscillators per voice and oscillator sync capability (e.g., Oberheim OB-Xa emulations or similar analog/VA synths).
  • Set Oscillator 2 to sync to Oscillator 1. Modulate the pitch of Oscillator 2 (the synced oscillator) with an envelope for the classic sync sweep; a small amount of pitch envelope modulation on Osc 2 is key.
  • Use sawtooth waves for both oscillators as a starting point. Pulse waves can also work, potentially with subtle Pulse Width Modulation (PWM) on one oscillator.
  • Apply a low-pass filter (typically 24dB/octave) with moderate resonance. Modulate the filter cutoff with an envelope (fast attack, medium decay, low to moderate sustain, quick release) to create the brassy 'oow' sound.
  • Add a rich stereo chorus effect. The Police were known users of Roland (Dimension D, CE-1) and Boss chorus units.
  • Introduce slight detuning between oscillators or enable the synth's voice detuning/spread function for analog warmth and width.
  • Use a polyphonic patch and play block chords, typically triads. The original part often uses inverted triads.
  • Incorporate a touch of portamento or glide, especially between some of the chord changes in the main riff.
  • A touch of studio plate or hall reverb will add space without washing out the punchiness.

Sources